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This paper critically examines the metamodernization of Romanian poetry in the broader historical context of its post-communist culture. Metamodernism will be swiftly defined as "the 6th face of modernity" (with a nod to M. Călinescu) and as a form of "supernatural naturalism" (inverting M.H. Abrams' famous formulation). The article then analyses the metamodern stylization of the lyrical subject (the corporeal lyric of the anonymous) in a posthuman framework. As a cultural sub-commodity chain, contemporary Romanian poetry and its "poetics of provision" can only be understood, it will be argued, within the matrix of neoliberal capitalism which produces a myriad of situated subjectivities of postmillennial consociates where the metamodern logistics of affect typically percolates. [ABSTRACT FROM AUTHOR]

Since 1967 Jan van Veen has been reciting poems for the Dutch radio program Candlelight, the world's longest-running radio poetry show. Candlelight poems almost always contain end rhymes and revolve around emotional themes. This article examines Candlelight poetry specifically as radio poetry. Three aspects are explored: the wide reach, the accessibility and the meaningful relationship between the linguistic and material code of the poems. The results of a survey conducted among Candlelight listeners are presented. And a material reading is given of a Candlelight poem, recited during a memorial broadcast on the MH17 plane crash in Ukraine in 2014. [ABSTRACT FROM AUTHOR]

AbstractModern Nigerian poetry in English was dominated in the 1950s and 1960s by the writing of Wole Soyinka, John Pepper Clark, and Christopher Okigbo. The trio, regarded as pioneers and the first generation of Nigerian poets, succeeded largely with their adoption of modernist techniques to convey African material. By the 1970s, their writing came under scrutiny with the call to decolonise African literature and, by extension, Nigerian poetry in English. In this article, I demonstrate how Niyi Osundare demystifies the form and language of Nigerian poetry in English by the creative deployment of oral techniques in selected poems. I argue that Osundare, as a Nigerian second-generation poet, decolonises and democratises modern Nigerian poetry by delinking from his predecessors’ Eurocentric conception of poetry. The article is in five parts. The first part provides an introduction, the second is a background review of the development of Nigerian poetry in English from which the research problem, purpose, and aim are identified. The third part is on the structure of The Word is an Egg. The fourth part analyses the oral poetic techniques employed by Osundare as decolonial creative strategies, and the fifth provides a concluding attestation of the transformative nature of Osundare’s poetic art. [ABSTRACT FROM AUTHOR]

Cenap Şahabettin, one of the artists of the Servet-i Fünûn period, is among the founders of modern Turkish poetry with his prioritization of aesthetic feeling, original discourse and original imagination system. Thanks to the aestheticized style he meticulously created in his poems, the poet had an important place in the history of Turkish literature, also by dipping into original subjects and themes. Cenap Şahabettin, who interprets the phenomenon of writing poetry as an existential dread, still to this day, continues to direct the literary formations after him with his poetic texts. As a poet bound to an aesthetic understanding, Cenap Şahabettin, who based his poems on the principle of beauty, creates a painting by integrating his impressions of nature with spiritual feeling and initiates the tendency to depict natural landscapes in Turkish literature. Nature is imagined as an ideal space for the poet, who is struggling with an ontic dilemma, reflecting his will to escape. Cenap Şahabettin, who identified the symbols of his spiritual life with the elements of nature, presented the natural principles of the Servet-i Fünûn period to the reader with his poem "Ta'yîn-i Metâlib". Cenap Şahabettin, who has introduced many innovations in Turkish poetry, used the elements of nature as a means of symbolization in "Ta'yîn-i Metâlib", while revealing his desires, wishes and expectations for the future with images unique to symbolists. [ABSTRACT FROM AUTHOR]

The article explores Amy Lowell's poetic debt to Lafcadio Hearn, focusing on her fascination with Japanese culture and the influence of Hearn's writings on her poetry. Lowell's poem "The Camellia Tree of Matsue" is analyzed in comparison to Hearn's camellia-themed poems, suggesting a significant influence. The article highlights Lowell's imaginative reinterpretation of Hearn's work, emphasizing the role of poets in reshaping legends and folklore. Ultimately, it concludes that Hearn's writings, particularly his narrative about the camellia tree in "Glimpses of Unfamiliar Japan," inspired Lowell's vivid imagery in her poetry. [Extracted from the article]

A growing body of scholarship has worked to recover the vocal dimensions of early modern reading and the effects of aural reading cultures on literary composition. Where these studies have focused on the relationship between the human voice and early modern texts, this article examines how the seventeenth-century royalist prisoner Sir John Gibson deploys early modern ideas about birds and birdsong as he seeks consolation through the material and textual processes of literary composition, manuscript compilation, and epistolary exchange. These efforts are evident in his physical and imaginative construction of his miscellany (BL Add 37719) as possessing bird-like capacities for movement and communication. While Gibson's miscellany does draw on familiar seventeenth-century ideas about music and the human voice, I argue that his invocations of birds and birdsong produce intriguing and powerful claims for the ways written texts can extend the capabilities of the human voice and body. [ABSTRACT FROM AUTHOR]

This essay explores how George Herbert's poetry frames apocalypticism in terms of personal mortality to strengthen individual practices of obedience and passivity in one's daily habits. By bringing together the science of daily devotion in the ars moriendi tradition and the imaginative resources of poetry and rhetoric, Herbert's verses locate the site of politics in the management and maintenance of practical, everyday affects. These intersections between early modern poetry and religion render habits of self-discipline in service of political passivity and quiescence, encouraging readers to practice obeying forces larger than oneself—even upon the destabilizing extremities of existential finitude. [ABSTRACT FROM AUTHOR]

The article offers updates on recent events and scholarly activities related to American modernist poet Wallace Stevens. Topics discussed include Nora Pehrson winning the John N. Serio Award for her essay on Stevens, the Wallace Stevens Birthday Bash featuring Charles Bernstein, and an upcoming international conference in Singapore titled "Transnational Conversations, Partial Perspectives" in 2025.

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The present study examines Eliot's influence on the poetry of the Iraqi poet, Badr Shaker Al-Sayyab. The main question of the research is which intellectual origin of Eliot's thoughts has influenced Al-Sayyab's works, and what is T.S Eliot's expressive and imaginative influence on Al-Sayyab’s poetry? The research method of the present research is descriptive and analystical and the comparison of signs and its theoretical framework is based on the comparative theory of influence of the French school of Claudio Guillen in "The Aesthetics of Literary Influence". According to Claudio Guillen's theory, literary influence gives birth to other literary works and literature produces literature. The results of the study show that under the influence of Eliot's thought, al-Sayyab turned away from romantic poetry and became an adeherent of modernist poetry. Thus, he turned to themes similar to those of Eliot's poetry and therefore his poetry reflects the despair and hopelessness that prevailed in Iraq and describes Iraq as a wasteland which is reminiscent of Eliot’s wasteland; Al-Sayyab indirectly criticized the dictators and autocrats of Iraq, and like Eliot who condemns unreal cities that lack humanity in his poems, al-Sayyab too condemned Baghdad as an unreal city that is a wasteland and without water that nothing will grow from it, as Eliot believes that nothing will grow from the waste land. In the field of expressive effects or imagaries, under the influence of Eliot, through the artistic use of the myth of Tammuz and Ishtar, Al-Sayyab attacked the causes of the Arab wasteland. Influenced by Eliot Al-Sayab, used Eliotique metaphors like personification of night to show the tangible dominance of darkness over light, the same method used by Eliot in depicting the chaotic and dark situation of the wasteland. Although Eliot influenced Al-Sayyab, Al-Sayyab's poetry is not an imitation in any way, and he wrote poems that make Eliot's influence seem insignificant. [ABSTRACT FROM AUTHOR]

The analysis of the relevance of this imperative starts in this essay with an understanding of the essential and urgent need to handle problems of identity and the lyric "I" in modern British poetry. The argument starts from this awareness. Among the issues the younger generation of poets cover, these ones are very dear to them. The corpus of work Denise Riley has created on the dialectical relationship between the "I" and the "other," as well as between the poet and the community, has a great degree of tension unmet. One may find a fight of this kind all over the body of work. By means of her poems, she aims to provide a coherent atmosphere emphasising the relevance of gender within the many modalities of poetic practice, authority, and tradition. She establishes a cohesive space to achieve this. We shall investigate the current situation of things on the topic of the speech holistically during the course of this project. The subject of this research is a philosophical analysis stressing on the nature of the self and the ongoing dialogue between the "I" and its "others". The focus of the research is on the nature of the self. Riley's seminal works, Mop Mop Georgette: New and Selected Poems 1986-1993, as well as her Selected Poems (2000), will form the basis of this study in addition to other works pertinent to the topic under current discussion. [ABSTRACT FROM AUTHOR]

The article focuses on the life and contributions of James Longenbach, highlighting his significant influence as both a poet and critic. Topics include his captivating readings and interactions with the author, his advice on writing and editing that shaped the author's approach, and the central themes in Longenbach's work that explore the complexities of poetry and its inherent ambiguities.

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Literature has a strong cultural imprint and regional color, including poetry. Natural language itself is part of the poetry style. It is interesting to attempt to use one language to present poetry in another language style. Therefore, in this study, we propose a method to fine-tune a pre-trained model in a targeted manner to automatically generate French-style modern Chinese poetry and conduct a multi-faceted evaluation of the generated results. In a five-point scale based on human evaluation, judges assigned scores between 3.29 and 3.93 in seven dimensions, which reached 80.8–93.6% of the scores of the Chinese versions of real French poetry in these dimensions. In terms of the high-frequency poetic imagery, the consistency of the top 30–50 high-frequency poetic images between the poetry generated by the fine-tuned model and the French poetry reached 50–60%. In terms of the syntactic features, compared with the poems generated by the baseline model, the distribution frequencies of three special types of words that appear relatively frequently in French poetry increased by 12.95%, 15.81%, and 284.44% per 1000 Chinese characters in the poetry generated by the fine-tuned model. The human evaluation, poetic image distribution, and syntactic feature statistics show that the targeted fine-tuned model is helpful for the spread of language style. This fine-tuned model can successfully generate modern Chinese poetry in a French style. [ABSTRACT FROM AUTHOR]

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The Polish poet Juliusz Słowacki (1809–1849) travelled through Palestine between 2 January and 27 January 1837, from El-Arish on the southern border with Egypt, at that time quarantined owing to plague, to the area around Lake Tiberias in the north, which had just been devastated by a strong earthquake. A detailed analysis of the itinerary of this pilgrimage has made it possible to establish new circumstances and topographical facts. The poet's recently discovered personal diary (Raptularz Wschodni) contains hitherto unknown observations and drawings by the author himself. Together with his other travel notes and recollections in his letters, they constitute an invaluable basis for a new account of how and where he wandered, and where he stayed and spent the night. The published accounts of other 19th-century travellers in Palestine have helped establish further details: three Polish Roman Catholic priests, two French intellectuals, and the English aristocrat and globetrotter G. Robinson, as well as site views by D. Roberts. The traditional and often erroneous identification and dating of the sites visited by Słowacki have been verified on the basis of scientific historical and archaeological research as well as the author's own observations in situ in Israel and her interviews with Franciscan archivists. As far as the extensive modern Polish literature on this journey concerns, the novelty here lies in identifying features in three of Slowacki's drawings and determining the places where the poet stayed in the Franciscan hospices in Ramla, Jerusalem, Bethlehem and Nazareth. [ABSTRACT FROM AUTHOR]

This article examines the enduring influence of Ancient Egyptian civilization in contemporary Arabic poetry, focusing on the ways poets incorporate elements of Egypt's ancient past into their literary works to preserve its memory for future generations. The subject, scope, and importance of this study lie in the exploration of the engagement with Ancient Egypt in various aspects, such as celebrating architectural marvels and acknowledging the wisdom and achievements of the civilization that once thrived along the Nile. The purpose of this research is to underscore the significance of the past in shaping present-day literary and cultural expressions, as well as the role of art in the construction of collective identity. The methodological framework involves a close analysis of selected poetic works, paying particular attention to the interplay between different cultural and historical influences, and demonstrating the vitality and adaptability of the Arab poetic tradition. In addition, this study highlights the implications of Ancient Egyptian civilization in contemporary Arabic poetry beyond the realm of literature, emphasizing the necessity of reevaluating the relationship between past and present and fostering a sense of continuity and connection with a shared history. [ABSTRACT FROM AUTHOR]

The imagery of wine and tea is important in classical and modern Chinese poetry, with an intricate relationship between the two especially evident in the work of Taixu 太虛 (1890–1947), a prominent poet–monk in 20th-century China. Taixu's attitude toward wine—a drink that is deeply rooted in Chinese culture—evolves significantly over time, from initial approval to eventual condemnation due to its detrimental effects on both personal health and society. Nevertheless, it continues to feature prominently in his poetry. The same is true of tea, which Taixu often uses to evoke either Buddhist study or his own healthy lifestyle. This article explores this and other complex meanings in Taixu's poems, such as his association of wine with knights and tea with hermits. It also discusses how he achieves a delicate balance between the two beverages, sometimes employing both types of imagery in a single poem—a literary innovation that helped to establish his reputation as a central figure in modern Chinese poetry. [ABSTRACT FROM AUTHOR]

Marjorie Perloff is a towering figure in contemporary literary criticism, known for her incisive analyses and groundbreaking theories on modern and contemporary poetry. Her work traverses the rich terrains of modernism, postmodernism, and media ecology, shedding light on the multifaceted nature of poetic expression in the 20th and 21st centuries. This essay, in memory of Marjorie Perloff, examines her significant literary contributions, and the critical reception of her poetic theories, underlining the interdisciplinary nature of her work. [ABSTRACT FROM AUTHOR]

Professor Marjorie Perloff was a distinguished scholar, poetry critic, and theorist. Her profound insights and unique perspectives on modern and contemporary American poetry have earned her high recognition in the international academic community. She was not only an Emeritus Professor at Stanford University and the University of Southern California but also a member of the American Academy of Arts and Sciences and a fellow of the American Philosophical Society. Her research spanned multiple fields, with outstanding achievements particularly in avant-garde poetry and modernist and postmodernist theory. Her works, including The Poetics of Indeterminacy: Rimbaud to Cage, Radical Artifice: Writing Poetry in the Age of Media, Infrathin: An Experiment in Micropoetics, have not only provided new perspectives for understanding modern poetry but also advanced the development of poetry theory, establishing leading theories such as the poetics of indeterminacy and micro-poetics. Professor Perloff also served as the long-term president of China-American Association for Poetry and Poetics, actively promoting cultural exchange between China and the United States and fostering deep cooperation in the field of poetry research. Though Professor Perloff passed away, she has left behind us a valuable academic legacy. We will always keep her in our hearts. [ABSTRACT FROM AUTHOR]

This essay discusses two approaches I use to teach Anne Finch's—and others'—poetry. Drawing on certain habits of early modern manuscript culture, I make visible to my students ways that reading and writing are socially embedded practices, which may variously involve exchange, reciprocity, or censorship. By adapting the "quaint" habits of manuscript culture practiced by Finch and many others to specific assignments, I encourage students to experience poetry as living, sociable occasions of reading and writing. To augment my students' engagement with early modern poetry I connect it to frameworks from their twenty-first-century reading and writing worlds. These exercises in "early modern social media" provide students with an intimate structure for studying a poem that resonates with many of their interests in creative writing and with their participation, mutatis mutandis, in one or more kinds of twentyfirst-century social media. [ABSTRACT FROM AUTHOR]

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The study of the influence of literary figures on the poetry of Azad Kashmir shows that there are influences of Sanskrit, Kashmiri, Persian, Arabic, Urdu and other regional languages as well as classical and modern poetry on the literature of Azad Kashmir. There are intellectual and artistic influences on the poetry of Azad Kashmir from to the present period. Some thoughts are prominent, some artistic imitation is visible. There is similar style; there is also the use of similar tone. However, all these influences despite this, the poetry of Azad Kashmir has its own individuality and its own style. Azad Kashmir's poetic capital, while being a part of the poetic tradition of Urdu language, has interesting, unique experiences and individual characteristics in terms of theme, theme, style innovation, new symbols, techniques, untouched and unique creative experiences and many other aspects. Azad Kashmir's own regional symbols and some unique experiences give its distinctive color to the poets of Azad Kashmir. Happily, the influence of movements, ideologies and personalities in the footsteps is less visible in the new generation. The poets of the new generation are actively and diligently engaged in creating their own special point of view, their own tone, their own style, and their own color. In spite of the influence of literary movements, critical schools, literary theories, poetic styles and poet personalities in the poetry of Azad Kashmir, its own color and harmony exist with all the beauty, rather, the colors and styles of the poets of Azad Kashmir are different from those of many other regions. [ABSTRACT FROM AUTHOR]

The article offers information on the role of arts and literature in preserving and transforming national identity, highlighting three fundamental functions: expressive/aesthetic, hermeneutic/interpretative, and critical/ethical. Topics include the ways in which arts express national identity through creativity and aesthetics, how literature interprets and generates meaning about national values, and its role in critiquing social, cultural, and political aspects.

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Steven Swarbrick's book, "The Environmental Unconscious: Ecological Poetics from Spenser to Milton," explores the intersection of Lacanian theory and ecological criticism in early modern British poetry. Swarbrick challenges sentimental notions of pure Nature and critiques the dominant theoretical framework of New Materialism. He argues that matter has a semiotic excess and that the poets he examines, such as Spenser, Ralegh, Marvell, and Milton, shape their poems around unsatisfying objects. Swarbrick also delves into the concept of the ecological subject and its relation to the Lacanian sinthome. While the book includes some attempts to bridge different intellectual perspectives and address issues of canonicity and decolonization, these aspects are seen as distractions from the main focus of the book. [Extracted from the article]

How do we read Greek literature? In the original language or in translation? With a theoretical lens or without? Bringing in our modern perspectives or trying to track ancient approaches? Identifying with characters or exercising supposed academic detachment? How we read Greek texts affects what we read in those texts. And who we are affects how we read. A number of recent publications prompt us to interrogate our reading practices by drawing on theories ancient and modern and reflecting on who we are and how entangled we are with other entities (from the objects we use to the poetry we embody to the narratives in which we are immersed). [ABSTRACT FROM AUTHOR]

This article applies the queer stance of looking back , as proposed by Heather Love and Shane Butler, to examine twentieth-century poetry by Frank Bidart, Thom Gunn, and Joe Brainard in light of classical models and comparisons. It touches on similar but shifting perspectives in Catullus, Homer, Sappho, Theognis, and Plato and argues that the stance of classical study itself, in looking back and remembering the past, echoes the queer melancholic, yet self-constituting, stance of looking back to a lost loved one and to one's own past that we find in both ancient and modern poetry. [ABSTRACT FROM AUTHOR]

Considering that early modern poetic theory retains the classical genealogies and iconographies of lyric poetry as song to the accompaniment of a lyre, how can one account for lyrics which portray the poet's stringed instrument, frequently the lute, as antithetical to his or her poetic aspirations, as a recalcitrant tool that resists the poet's desires and thus engenders a lyric crisis? This article uses object-oriented ontology (OOO) to think through the lyric poet's relationship with the lute which, fractured between real object and its sensual qualities, withdraws its essential being from access yet involves the poet in a network of sensual and essentially aesthetic bonds with the instrument. By reading several early modern riddles, sonnets, and other lyrics about deviant lutes as encounters between human and nonhuman objects, the article traces the poetics of unlyric — a form of poetry that disentangles poiesis from musical subjectivity and harmony, articulating instead a vision of lyric as fraught negotiations between entities whose forces lie beyond the powers of human art. [ABSTRACT FROM AUTHOR]

The present article discusses, in a first step, ground-breaking recent publications on the lyric subject, and dedicates itself, in a second step, to a new concept of lyric persona, which is devised to overcome the constrictions of the categories of subject and subjectivity and to open access of theory to all kinds and eras of lyric poetry from the Old English Seafarer to modern concrete poetry. The first book to be reviewed is Autor und Subjekt im Gedicht. Positionen, Perspektiven und Praktiken heute (2021), a collection of essays which pursues an argumentatively stimulating dialogical strategy. The articles begin with Wolf Schmid's twenty theses on the abstract author, an appropriation of the narratological »implicit« author to the theory of lyric poetry. This statement is followed by a number of articles which alternatingly argue in favour of and against the concept of the abstract author. Peter Hühn, for instance, believes the term to be analytically especially fruitful, while Ralph Müller speaks of it as a »narratological spectre«. It is significant that, using Schmid's term, Rainer Grübel analyzes a number of intriguing modern Russian poems, which he calls hybrid, since he identifies transitions from poetic to quasi reality-related passages and diagnoses concomitant stylistic changes in the texts. The international perspective is then widened by a comprehensive investigation of Russian, German and English terminological traditions. Marion Rutz demonstrates that handbooks and textbooks are by far not compatible. Among other terms she deals with the controversial German term »das lyrische Ich« (the lyric I). An investigation of the use of this term is then afforded by Hermann Korte's examination of the poetry and poetics of Gottfried Benn, Thomas Kling and Durs Grünbein. Subsequently, a group of articles deals with the fate of the subject in recent and current German poetry. Analyzing poems by Sabine Scho, Anne Cotton and Thomas Kling, Friederike Reents verifies, instead of »subject fatigue«, new possibilities of the subject. Analogous insights are gained by Mirjam Springer in her investigation of the lyric portrait and in a politically tempered article by Peter Geist, which discovers examples of varying degrees of imaginative self-construction going together with increasing author-relatedness. The volume concludes with a large-scale philosophically oriented article by Henrieke Stahl which constructs the model of a polymorphous subject based on Heinrich Barth's existential variant of transcendental philosophy. The second publication to be discussed is Varja Balžalorsky Antić's monograph The Lyric Subject. A Reconceptualization (2022), which, though treating roughly the same subject as Autor und Subjekt, is oriented a totally different way. Like the one year previously published work, Antić proceeds from the awareness that the numerous new developments of poetry call for a reconceptualization of the genre and especially of the concept of the subject. In order to clarify the relation between the subject of language and the subject of poetry, she makes wide-ranging excursions into philosophy and discourse theory, which have not been undertaken in that way by other researchers in the field. Antić's treatment of the prehistory of the concept of subjectivity is comprehensive. She erects her edifice of ideas on the basis of the theories of Émile Benveniste, Henri Meschonnic and others. Also, she goes back to Germanophone philosophers and theorists like Friedrich Schleiermacher and Wilhelm von Humboldt. In particular, she emphasizes the development of Benveniste's linguistics of enunciation to Meschonnic's poetics of enunciation, according to which subjectivity does not reside in the lyric persona, but in the »the transsubject, the I-you of enunciation expanded onto all discourse«. In this context Meschonnic's rhythm theory, which has profound ethical implications, is of central importance. Literary works which she subjects to analysis are troubadour poetry, in which she identifies polyphony and internal dialogism and consequently subjectivization, Nerval's sonnet »El Desdichado«, to which she applies Paul Ricœur's dialectic of ipse and idem, and Henri Michaux' long poem »La Ralentie«, in which she identifies »dispersed multiplicity« and simultaneously integrated totality. The last chapter »Recapitulation and Systematization of Subject Configuration« has deserved special attention. Inspired by a short article, »Persona. Its Meaning and Significance«, by James Dowthwaite (2023), the present author elaborates the concept of the lyric persona in the last part of the contribution. The creative capacity of persona is seen to occupy the free space between the empiric author and the finished product. The independence of the persona from the author has a liberating quality, which allows the author a fictional space and a range of possible expressions. The lyric persona can be called the aesthetic and cognitive laboratory between author and poem, which is responsible for the invention of speakers, the use of pronouns and all the formal and aesthetic elements represented in the poem. One advantage of the persona concept is that it has a liberating effect in regard to the overuse of the subject concept, though forms of I-saying are within the reach of the persona. Another advantage is the scope of the term persona. It can be applied from the Old English »Seafarer« to modern concrete poems like Edwin Morgan's »Pomander«. [ABSTRACT FROM AUTHOR]

This article discusses the work of Isabella Whitney, a female poet from the sixteenth century. It explores her unique position as an urban, non-elite poet and her engagement with social and economic change. The article highlights the challenges Whitney's poetry poses to notions of authorship and authority, as well as her use of the miscellany format to explore female speech and social interactions. It also emphasizes the importance of Whitney's engagement with print and the marketplace, and argues for a reevaluation of her work within the context of sixteenth-century literature and culture. [Extracted from the article]

In this article we reconsider Homer's poetry in the light of modern achievements in neuroscience. This perspective offers some clues for examining specific patterns of brain functioning. Homer's epics, for instance, painted a synthetic picture of the human body, emphasizing some parts and neglecting others. This led to the formation of a body schema reminiscent of a homunculus, which we call the "Homeric homunculus." Both poems were largely the product of centuries of oral tradition, in which the prodigious memory of courtly rhapsodists was essential to the performance of the epics. The underlying cognitive functions required a close interplay of memory and language skills, supported by the musical and rhythmic cadence of Homeric verse. [ABSTRACT FROM AUTHOR]

Aligned with global Sustainable Development Goals (SDGs) and multidisciplinary approaches integrating AI with sustainability, this research introduces an innovative AI framework for analyzing Modern French Poetry. It applies feature extraction techniques (TF-IDF and Doc2Vec) and machine learning algorithms (especially SVM) to create a model that objectively classifies poems by their stylistic and thematic attributes, transcending traditional subjective analyses. This work demonstrates AI's potential in literary analysis and cultural exchange, highlighting the model's capacity to facilitate cross-cultural understanding and enhance poetry education. The efficiency of the AI model, compared to traditional methods, shows promise in optimizing resources and reducing the environmental impact of education. Future research will refine the model's technical aspects, ensuring effectiveness, equity, and personalization in education. Expanding the model's scope to various poetic styles and genres will enhance its accuracy and generalizability. Additionally, efforts will focus on an equitable AI tool implementation for quality education access. This research offers insights into AI's role in advancing poetry education and contributing to sustainability goals. By overcoming the outlined limitations and integrating the model into educational platforms, it sets a path for impactful developments in computational poetry and educational technology. [ABSTRACT FROM AUTHOR]

Background & Statement of the problem: The poetic framework within Khalil Hawi’s anthology, “Bayader Al-Jow” served as a compelling catalyst for delving into the intellectual aspects and varied poetic influences of the poet. These elements played a pivotal role in utilizing a plethora of metaphorical images, thereby shaping the artistic imagery within the poetic text. Objectives: The research endeavours to uncover the intellectual directions and intertextual patterns within Khalil Hawi’s compilation, “Baydar al-Jow” It also seeks to illuminate the pivotal role these orientations and intertextual elements play in shaping artistic images. Furthermore, the research aims to unveil the poetic sources that influenced the poet’s creation within this collection. Methods: The research depended on the examination of poetic texts to unveil the poet’s philosophical inclinations and identify his poetic influences. Additionally, the study aimed to emphasize poetic methodologies and artistic techniques through the implementation of a descriptive, analytical, and stylistic approach. Results: The research concluded that the poetic text within “Baydar al-Jow” serves as a dynamic catalyst for investigating the poet’s intellectual foundations and poetic inspirations. The poet’s sources encompassed religious, heritage, literary, and linguistic references. Hawi skillfully employed these sources through the technique of intertextuality, infusing them with condensed yet evocative connotations that mirror the poet’s cultural and philosophical stance. Conclusions (Recommendations and contributions): The researchers suggest delving into the diverse poetic themes, artistic phenomena, and stylistic elements that set apart Khalil Hawi’s poetic journey within the realm of Arab modern poetry. [ABSTRACT FROM AUTHOR]

As Irlemar Chiampi points out, any debate on Modernity and its crisis in Latin America that does not include the Baroque is partial and incomplete. On this basis we propose that this American imbrication between Baroque and Modernity can be enlighteningly glimpsed in a masterpiece of the Latin American avant-garde such as Trilce, a book published a century ago by the Peruvian poet César Vallejo, in which the Baroque is not merely a stylistic question but a "sensibility", as the poet called that capacity of the true new poetry to express the modern experience, thus becoming an art of the "counter-conquest", as the Cuban José Lezama Lima imagined it, as a poetic device capable of testifying the tragic excess of the American Modernity through its immanent baroquism. [ABSTRACT FROM AUTHOR]

Despite its apparent oblivion, Destierro (1930) has been considered by its author and by critics as a collection of poems that represented an inflexion point in the poetry of Jaime Torres Bodet. This paper analyzes Destierro (1930) through one of its main topics: the experience of dreaming. As it will be pointed out, rather than being lost in unconsciousness, dream is represented as a journey of a lucid sensibility looking for a new poetic expression that might communicate the spirit of modern life. [ABSTRACT FROM AUTHOR]

This article proposes a reading of the figurations of desire in Ernestina de Champourcin's poetry of the 1920s and 1930s, from the perspective of contemporary vitalist philosophy and of current principles of vital-materialist thought. The coincidence between bodily, spiritual and poetic desire has its historical-literary model in mystical discourse. Situating ourselves in the theoretical framework of post-secular studies and proposing the notion of the «trans-secular», we will address the close relationship between vitalist semantics and metapoetic reflection in Champourcin's poetry. We will then highlight the motif of the road as a symbol of an «urban mysticism» and of a dynamic subjectivity of becoming. Finally, we will explore the richness of the expressions of desire, which in Champourcin always go beyond the binary separation between the physical senses and the spiritual sense. Her lyrical persona desires a universalising, cosmic unity with the world that directs itself either to the beloved, or to nature, objects, poetry or even God. It is precisely the indistinguishable iridescence of the object of desire that opens Champourcin's lyric to a post-anthropocentric, trans-secular ethics and aesthetics. [ABSTRACT FROM AUTHOR]

This article explores the career of poet John Berryman as a poetry reviewer and critic. It emphasizes his talent as a critic and his struggle to establish himself as a scholar. The article also mentions his unfinished projects and his reluctance to write criticism due to its potential negative impact. It concludes by praising Berryman's fragmented criticism and suggesting the need for a comprehensive collection of his prose. Additionally, the article discusses various poetry books by different authors, providing critical analysis of their strengths and weaknesses. The reviewer offers their opinions on the quality of the poems and the poets themselves, noting influences from other poets and commenting on the lack of self-reflection in one poet's work. The text also highlights the linguistic challenges posed by Hugh MacDiarmid's language. Overall, the author presents a balanced assessment of the poets and their works, acknowledging both their strengths and weaknesses. [Extracted from the article]

This study examines the representation of emotions in the poetry of John Ash with a focus on his collection entitled Two Books: The Anatolikon/To the City (2002). Through an in-depth analysis of selected poems, the study explores Ash's encounters with ancient Greek cities, the impact of migration, and the use of metafiction. The study also considers Ash's portrayal of historical events and the attribution of emotions to ancient cities and highlights his role as a semihistorian. Furthermore, it examines the relationship between emotions and thoughts and traces its origins to the emergence of Romanticism and the shift in the literature from strict rationality to the reliance on emotions. Within these compositions, his personas manage the preservation and history of ancient cities that pose historical significance in the Roman, Byzantine, and Ottoman empires and Armenia in poetry. Intentionally obfuscating the differentiation between reality and history, Ash invites readers to navigate the dynamic interplay between the plain present and the echoes of an ancient era. Positioned within the history of British poetry, Ash is recognized as a contemporary postmodern poet. A dualistic approach characterizes his poetic works in which one facet is marked by the emotive expressions of his speakers, particularly regarding the antiquated urban landscapes they visit. His philosophical musings on poetics, history, and poetry mark the other facet of his poetry. This study aims to examine Ash's postmodern inclinations in light of his utilization of emotions and ideas in the poems of Two Books: The Anatolikon/To the City. [ABSTRACT FROM AUTHOR]

This article focuses on the ways in which modern Hebrew poetry uses the demonstrative pronoun 'zeh' (this, that or it): an everyday and efficient word that relies on shared understandings or the illusion of shared understandings between speakers, and in which a long text is often condensed into the act of pointing. The extensive usage of 'zeh', sometimes as the poem's subject or as its main interest, is a poetic phenomenon that needs to be examined and characterized. The article traces various uses of this word in Hebrew poetry, and classifies and examines the insinuation, that is, what is implied, in poems by Rachel Bluwstein, Nathan Zach, Yona Wallach, Mois Benarroch, Dahlia Ravikovitch and Hedva Harechavi. In these poems, the demonstrative - a deixis always implying a context or a frame of reference - is essential and central, and the article shows how the immediate act of pointing in daily language is transformed by the poems for their own purposes. The article contains four sections, each examining a different usage of 'zeh'. The first section examines uses that are existentialist in nature, some of which relate to suspicion and its activation in readers; these uses also tend to function as a shibboleth, splitting readers into those who understand and decipher what is implied and those who don't, the insiders and the outsiders. The other three sections describe uses of the demonstrative 'zeh' that can be interpreted as standing against or in opposition to the former ones; poems that use the insinuations to produce different identifications with alternative groups, signal being "like that" ['ka-zeh']; poems that point at what is implied and naming it, debunking and ridiculing the very act of implying or insinuating; and lastly poems that point out the powerlessness of poetry and language, doing this by an act of pointing that tries to achieve the impossible in the poems, and to allegedly, revive the dead. [ABSTRACT FROM AUTHOR]

In the Archetypal critique of postmodern poetry, we can see clear signs of the Collective unconscious mind. Among these signs is the archetype of the anti-hero. The archetype of the anti-hero has appeared in postmodern poetry in different forms, especially "Anima", "Animus" and "Self" so boldly and diversely that sometimes it makes the reader feel doubtful and confused in distinguishing the hero from the anti-hero. The current research, using the descriptive-analytical method, has tried to determine the position and function of the archetype of the anti-hero in the course of postmodern poetic narration. The results of this study showed that postmodern poets are praised as long as the archetype of the anti-hero protests against the social conditions, and he is praised among the heroes, but when this role causes damage to one's own archetype or other positive archetypes, it is no longer supported. Keywords: Postmodern poetry, archetype, anti-hero, shadow Extended Abstract 1. Introduction One of the distinctive features of postmodern poetry in Iran are open images that reflect the society, individuals and social issues. Direct communication and images without individual and social considerations have caused postmodern poems to be closer to the inner layers of the collective unconscious mind of society (archetypes). One of the key features of the archetype is the inability to represent the real world directly. "Archetypes cannot be directly manifested by themselves, but when they are activated, they express themselves in different ways, mainly through dreams, fantasies and delusions" (Fiest, 2016: 126). "Among the range of archetypes, Jung believes that some archetypes have a stronger role on human behavior and personality, therefore he introduced them as "main archetypes". Besides these archetypes, there are many other manifestations of archetypes, which are called "sub-archetypes". The main archetypes include: persona (mask), anima, animus, shadow (shado), self (self)" (Hall & Nordbai, 2015: 57). "The archetype of the hero is a symbolic manifestation of the perfected psyche, which has powers that the self does not have. Therefore, the main function of the hero's myth is the self-conscious discovery of one's self, which means becoming aware of one's own weaknesses and abilities in a way that enables "I" to show resistance against external problems. (Jung, 1387: 164). Due to the two-dimensional nature of archetypes, the archetype of the hero has a negative aspect as well, which appears as the archetype of "anti-hero" in the narratives. He is, in fact, a hero who does not have the characteristics of a traditional hero and usually exhibits behaviors that are seen in the villain of the story. The motivations of the anti-hero are usually good, or the one who thinks they have good motives. He becomes a good character whenever he feels that the situation calls for him to do evil. Contemporary poets after the constitutional period, especially modern poets, due to the non-implementation of popular ideas and ideals, internal suffocation and tyranny, lack of individual and social freedoms, feelings of dissatisfaction and despair and other individual and social concerns, use the character of anti-heroes as an approach to portray these anti-normative themes. This method has been widely used despite the manifesto of postmodern poets to avoid any structure, meaning and tradition. In the face of such a volume of the anti-hero archetype in the course of postmodern poetic narration, the question arises: what are the grounds for the appearance of the anti-hero archetype in post-modern poetry? And what functions does this negative archetype have in postmodern poetry? 2. Materials and methods In postmodern poetry, due to the poets’ style, we see distinct manifestations of anti-heroes. Some of the manifestations of the anti-hero in the narrative are in the form of references to unpleasant feelings such as fear, disappointment, despair, frustration, inner weakness, complexes, and sometimes in the form of actions such as external violence, protest, being subjected to violence. In postmodern poetry, the anti-hero appears in the narrative in two ways: 1- the anti-hero who is the main role of the narrative (the focus of negative archetypes) 2- the anti-hero (negative archetype) against the hero (positive archetypes). Although there have been many studies, compilations and translations about the archetype as well as postmodern poetry, such as Jung's book and his analytical psychology by Farbad Fadai, which is mostly dedicated to retelling Jung's thoughts, as well as the article "Examination and Analysis of the Anima Archetype in Molana's Ghazals" by Maryam Ismailipour; In this article, the researcher introduced the anima archetype and its representation in Jung's unconscious in some contemporary mythologies and literature of Iran and the world, as well as the thesis "Review of archetypes (persona, anima and animus, exemplary mother, self and Shadow) in the poetry of Mahmoud Darwish", by Sosan Ghaibzadeh and the book What is Postmodernism?, translated by Farhad Mortezaei. In this book, the author tries to describe and define postmodernism. The article "Postmodernism and Contemporary Poetry of Iran" by Qadratullah Taheri also deals with the pursuit and the history of postmodernism. The thesis "Investigation of postmodernist elements in the classical forms of contemporary poetry" by Arman Mearaji also looks for postmodern signs in these poems, without looking at archetypes in postmodern poetry, alongside the classical forms of modern poetry. As can be seen, none of the above sources have made the archetype of the anti-hero in postmodern poetry the subject of their research. Therefore, this article, using a qualitative approach and a descriptive-analytical method, has tried to discuss and examine the issue of the anti-hero in postmodern poetry to answer the research questions. 3. Results and discussion In the criticism of archetypal postmodern poetry, one can see clear signs of collective unconscious mind. Among these signs is the archetype of the anti-hero. The archetype of anti-hero has appeared in postmodern poetry in various forms, especially "anima", "animus" and "self", that sometimes the reader cannot distinguish the position of the hero from the anti-hero. The current research, using the descriptive-analytical method, has tried to determine the position and function of the archetype of the anti-hero in the course of postmodern poetic narration. The results of this study showed that postmodern poets are praised as long as the archetype of the anti-hero protests against social conditions, and he is praised among the heroes, but when this role causes damage to one's own archetype or other positive archetypes, it is no longer supported. 4. Conclusion The result of the study of the anti-hero in postmodern poetry showed that the poets of this style support anti-heroic actions as long as positive archetypes are not harmed. Most of these anti-heroic actions, which are accompanied by external violence, are meant to express protests and rebellion towards society. This group of anti-heroes, in the eyes of poets, are essentially heroes who have performed anti-heroic actions and are also praised. On the other hand, if the anti-hero has abnormal actions or shows his violence towards positive archetypes, he will be criticized, but still the main characters of the archetype do not have the power to confront this anti-hero. In a way, the anti-hero becomes a real image of the shadow archetype in the poem. It was also found that some heroes have anti-heroic actions in postmodern poetry and instead of playing a powerful role in the narrative, they choose to escape. In the eyes of the poets of this style, if the anti-hero even has a heroic action, he is superior to the hero who chooses to run away and surrender. The extension of this process brings the hero into the stage of "transformation of the hero into the anti-hero" and the result is that the positive archetypes that appear at the beginning of the narrative eventually take on a negative role. Another manifestation of the anti-hero is its combination with the face of the hero. Some narrative characters of postmodern poetry are anti-heroes and are not approved by the poet in some ways, but aspects of their heroic face are also expressed in the poem and combination of the hero's face and Twin anti-heroes are also seen in these poems. The archetypes that appeared the most in the role of anti-hero in postmodern poetry are the archetypes of "Anima and Animus". The most common image used in anti-heroic narratives by postmodern poets is the contrast between "man and woman" in the narrative of the story. Although the anima is a powerful archetype, it is powerless against the power of the shadow in postmodern poetry. The ideal mother is also a powerful and active archetype in the unconscious mind, but in postmodern poetry, this archetype, like the anima, shows its credibility shaky. In general, it can be said that the border between the hero and the anti-hero in postmodern poetry is very close, and the anti-hero appears only in situations where the destructive element of the archetype of the shadow has more control over the individual's subconscious mind. The anti-hero harms both himself and the society, and this is caused by the darkness of this negative archetype in the poem.

Poetic and dramatic works by T.S. Eliot include numerous allusions to Shakespeare's plays, different collisions based on Shakespearean plots, theatrical techniques and settings of the great playwright, etc. This paper considers the ways and instruments of transforming and representing Shakespearean images in Eliot’s poetic texts, such as “The Love Song of J. Alfred Prufrock”, The Waste Land, “Marina”, “Coriolan”, etc. The important aspect of Eliot's reception is the appeal to Shakespeare’s heroes (Hamlet, Lady Macbeth, Ophelia, Pericles, etc.) as archetypes for creating his own poetic characters. The researcher identifies two main ways of transforming and representing Shakespearean images: masks and dramatic monologues (“dramatis personæ”). The characters in Eliot’s poems use Shakespearean masks as a means of self-identification (Prufrock), they are components of “compound” images (“a cubist woman” in The Waste Land). The dramatic monologues of Eliot’s protagonists are pronounced on behalf of Shakespearen heroes (Pericles, Coriolan). Shakespearean allusions in Eliot’s poetry are to expand the boundaries of the text, deepen the characters, include them into a certain cultural paradigm, etc. The analysis of Shakespearean images in Eliot's poetry allows us to understand the peculiarity of perception for Shakespeare and methods of poetic mastering of his heritage in Modernist culture.

The article deals with the poetry oeuvre of the modern Russian poet Svetlana Kekova. The goal of this research is to examine texts created in the genre of poetic still life (Tikhaya zhizn (Quiet life), Po reke pechalnoy luna proplyvaet ryboy… (The moon is floating down the sad river like a fish...), Pomme de terre, V starom barake, gde tvoy poyavlyaetsa vrag… (In the old barrack hut where your enemy appears...), Ogon’ veshchey (Fire of things), Sredi nadezhd, raskayanja i strakhov (Among hopes, repentance and fears)). Still lifes in S. Kekova’s poetry is a particular case of the manifestation of a “religious ekphrasis”, due to which the described series of objects acquire a second symbolic meaning. The main place in the article is given to a detailed analysis of the poetic diptych Tikhaya zhizn (Quiet life). Two parts of the cycle address Dutch and Flemish still lifes, though the author’s intentions are connected with the comprehension of a sacred plot that goes back to the New Testament history. The mirror structure of this text has been revealed, the semantic principles underlying the compositional structure of the cycle have been shown. If the “Dutch still lifes” consecutively reflect the key events of the New Testament (The Last Supper, Crucifixion and Resurrection), and all the three poems are united by the idea of the victory of light over darkness and the possibility of salvation, then in the “Flemish still lifes” the author speaks about the sinfulness of the earthly life. The Dutch and Flemish still lifes in Tikhaya zhizn (Quiet life) are contrasted as worlds of salvation and death, which are being infinitely attracted and repelled. Together they represent a complex dialectic of the Christian history. This study pays special attention to the problem of ekphrasis, as it has been found that one of the possible pretexts of the “Flemish still lifes” is the painting “The Meat Stall” by Pieter Aertsen. The article concludes that the main sense-generating mechanism of S. Kekova’s writing is the ability of the author’s view to transfigure earthly things so that you can see echoes of the higher News in them.